In 1975, I attended a performance of The Revenge (Zemsta) by Aleksander Fredro at the Dramatic Theatre in Warsaw. The production was directed by Gustaw Holoubek (1923–2008), who also played the role of Rejent Milczek — one of the central characters in this classic Polish comedy of manners, written in the 19th century and still widely performed today.
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| Gustaw Holoubek |
Also appearing in the play was his wife, Magdalena Zawadzka, a well-known Polish actress, who played Klara. If I remember correctly, I saw them leaving the theatre together after the performance — and to this day I regret not asking her for an autograph as well.
I had the opportunity to see Holoubek again many years later, in the 1980s, this time in Toronto, where he arrived together with Magdalena Zawadzka for a series of cultural events aimed at the Polish diaspora. During one of these evenings, he recited, among other works, the famous “Great Improvisation” (Wielka Improwizacja) from Forefathers’ Eve (Dziady) by Adam Mickiewicz. This monologue is one of the most iconic and demanding pieces in Polish Romantic literature — deeply emotional, philosophical, and often seen as a symbol of the Polish struggle for freedom. His interpretation was truly powerful and left a lasting impression on me.
The following day, a small, private gathering with Holoubek and his companions took place at the home of my employer at the time. Unfortunately, I was not able to attend.
Although Holoubek was primarily a theatre actor, and it was on stage that he achieved his greatest acclaim, I also remember him from several film roles. Two comedies, in particular, stand out in my memory: Gangsters and Philanthropists, in which he played a gang leader, and Tomorrow’s Premiere, where he appeared in the leading role. Even then, I was struck by his remarkable talent — he brought depth, intelligence, and a distinctive, understated style to every character he portrayed.
Looking back today, it is even clearer how extraordinary a figure he was — not only an actor and director, but also an intellectual who left a lasting mark on Polish theatre and cinema.
An anecdote comes to mind about the play The Revenge. In one scene, when Cześnik is dictating a letter to Dyndalski, the actor playing Cześnik noticed that the quill had fallen to the floor — something the actor playing Dyndalski hadn’t seen. When Cześnik tells him to write, Dyndalski, unable to find the quill, simply says, “But there’s no quill.”
“'Here is the pen, you ancient hen!", said Cześnik, pointing to the quill lying on the floor.
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| Źródło: Wikimedia Commons Blogi są również dostępne w języku polskim/blogs are also available in the Polish language ***** More from the authorThis entry is part of a broader collection of personal research and historical documentation across multiple blogs: 👉 Travel and nature archive/blog/: https://ontario-nature.blogspot.com/ |
Cześć Jack!
ReplyDeleteWłaśnie włączyłem sobie jego interpretację "Wielkiej Improwizacji". To taki rodzaj kultury, który jest niszowy i masowy odbiorca nie leci się w takich miejscach.
Talent miał niezwykły.
Nie jest łatwo zrozumieć, a szczególnie polubić „Dziadów” Mickiewicza. Ale gdy się tego dokona, to czytanie czy też słuchanie Wielkiej Improwizacji stałe się za każdym razem niesamowicie doniosłym przeżyciem duchowym.
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